Film Archive

Quarterly 33 Newsletter 08.2005

Meet the Director Series

HKFA & HK Film Culture

The 61st FIAF Congress

Film Conservation Jargon: Frame Rate

17 Editorial@ChatRoom

Meet the Director Series

TomSenga Design www.filmarchive.gov.hk

Hong Kong Film Archive

Head Angela Tong

Section Heads Venue Mgt Rebecca Lam IT Systems Lawrence Hui Acquisition Mable Ho Conservation Edward Tse [[email protected]] Resource Centre Chau Yu-ching Research Wong Ain-ling Although directors don’t get as much media exposure as actors, they’re definitely the soul of a film. Editorial Kwok Ching-ling In concurrence with the exhibition of the donated collection from Emperor Motion Pictures – JCE Programming Sam Ho Movies, the Programming Section organised the Meet the Director Seminar Series. The five participating Winnie Fu directors, all with varying experience and artistic orientation, shared their creative insights and approaches with the audience. Newsletter Writer, director, producer all in one, Joe Ma’s filmmaking talent was nurtured in the golden era of Editors Kwok Ching-ling Hong Kong cinema in the 1980s and 90s. Besides directing, he also plays guardian angel to budding Edith Chiu directors as a producer. One of them is Cheang Pou-soi who has developed his signature style in horror films within a few short years. 50 Lei King Road, Romance and human relationships are common film topics, yet Joe Ma and Riley Ip have clearly Sai Wan Ho, Hong Kong different approaches. One lets his actors pour their hearts out while the other brings a touch of the Tel: 2739 2139 fantastic. First-timers Kenneth Bi and Stephen Fung are intent on concocting the right flavours as their Fax: 2311 5229 future as directors depends on it. Bi’s Rice Rhapsody has to look as good as it tastes while Fung’s E-mail: [email protected] ‘Phoenix’ has to make a grand entrance. Design: TomSenga Design The series allows you to check out five directors whom you may find poles apart or similar in their Printing: Quality Printing Limited dissimilarity. And how would creativity’s relationship with the industry evolve? Well, it will be more for you to find out. [[email protected]]

Photos courtesy of Anthony Ng, Cathay-Keris Films Pte Ltd, City Entertainment, Emperor Motion Pictures, JCE Movies Limited, Kenbiroli Films Ltd, PCC Skyhorse Ltd and Film Commission. A member of the International Federation of Film Archives Cover: (from top) Joe Ma, Kenneth Bi, Stephen Fung, Riley Ip, Cheang Pou-soi 2 Meet the Director Series

Joe Ma

Writer/director/producer—an old hand at young love Realistic Youth Host: Law Kar (Programmer, HKFA) Law: Why do you have a penchant for youthful crushes, first loves and heart breaks? Ma: I was very moved by Samson Chiu’s Yesteryou, Yesterme, Yesterday (1993), the first of the Banana Ripening series. The company was very happy with part one. Peter Chan was responsible for planning the sequel, and he asked me to write a script. I cherished the opportunity as I really wanted to direct, so I put on my thinking cap. The subject matter was pure coincidence. Later many investors saw me as a director of teen flicks. Whenever they think of adolescent love, they think of me, and I also happen to like the genre. My films all seem to be full of youthful vitality. Perhaps it’s because they’re depicting youthful sentiments. On the set of Over the Rainbow, Under the Skirt, I gained an insight that was to influence my later works. Being young is often associated with ‘brainlessness’, ‘wallowing in dreams about the future’, and ‘fearlessness in the face of death’. This is the youth of popular imagination. But reality is not necessarily like that. Adolescents can be haunted by all sorts of seemingly groundless fears—fear of being let down by friends, of unrequited love…. Many of my films are built around this idea. Perhaps that is why youngsters see a more realistic youth in my movies. Law: Several years ago, you reinvented new images for several singers with great success. You brought out a unique side of Charlene Choi. Funeral March (2001) was her first film as leading lady. Why did you give her the role of a girl who’s fatally ill? Ma: Funeral March had a ready script before casting. I had watched Heroes in Love (2001) and was impressed by Charlene’s performance. She was such a natural that she seemed to be playing herself. However I still had to find ways to put her in the mood and I did so by feeding her information. When I am attracted by certain qualities in an actor, I would have a lot of faith in him and I would construct a story based on these qualities. Charlene came across as very witty, diplomatic, and intelligent but not cunning. I extracted these attributes and put them in Diva, Ah Hey (2003). Law: What is your experience collaborating with young directors as a producer? Ma: I benefited a lot from Over the Rainbow, Under the Skirt. In hindsight, having a good producer, Peter, had been immensely helpful, so I too wanted to be a good producer. I also felt that producing experience could help me be a better director. When I was producing for Wilson Yip, Carol Lai, Cheang Pou- soi, Matt Chow, and Alan Mak, I gave them a lot of rope because I felt their creativity deserved respect. Extracted from a dialogue on 3rd July 2005. Compiled by Kiki Fung; translated by Piera Chen 3 Meet the Director Series

Riley Ip

Thinking with feelings. The sense of smell are stronger and more lasting than sight.

Between the Real and the Surreal Host: Cheung Chin (veteran film producer) Cheung: Just One Look (2002) is your tribute to the 1970s. It’s a relatively realistic piece of work, yet it also has elements of literature of the fantastic. Was this your intention? Ip: I use realism to represent the surreal. The parts on love and the father-son relationship are realistic but the martial arts combat at the end is surreal. Cheung: All your films have romance as their central theme. Compared to Love Is Not a Game But a Joke (1997), Metade Fumaca (1999) and Lavender (2000), Just One Look is more realistic. Your films also have a thing for smell. Lavender scents are released in the cinema during screenings of Lavender. Ip: People rarely think with feelings. As a director I love to explore this process. Romance also sprouts from certain feelings. Cheung: Is the memory of smell stronger than that of perception? Ip: Research shows that smell is more lasting than sight. People may quickly forget what they’ve seen but a certain smell can resurrect the memory. Cheung: Hence Metade Fumaca stresses holding on to the smell of a cigarette. Your dialogues are also humourous. Ip: The important thing is to pay attention to the conversations going on around you and tell your story through daily life. Just One Look and Metade Fumaca were not meant to talk about the father- son relationship or romantic love but they ended up doing so unconsciously. Neither was it my intention to shoot a typical love story. That would have been no fun. Metade Fumaca is about unrequited love and the love affair in Just One Look is doomed. Also, in the latter, Shawn Yu blindly worships his father and believes that Anthony Wong murdered his father. It’s naïve but endearing. It’s too bad that you can never be born in the same era as your dad so you’ll never know what he’s like as a young man. When you’re grown up, your dad is already old. When he reminisces his youthful achievements, you think that he’s bragging. Audience: The montage of 70s movie clips in Just One Look is reminiscent of Cinema Paradiso (1989). Ip: I had already finished writing the script for Just One Look when I joined the film industry in the 1980s. Later I found out how similar Cinema Paradiso was to what I had in mind. Films may not seem to have much apparent effect on a person; their influence is imperceptible. It’s like reading. Someone well read does not necessarily talk like a writer but the books you’ve read do definitely have an effect on you. Extracted from a dialogue on 25th June 2005. Compiled by Edith Chiu; translated by Piera Chen 4 Cheang Pou-soi

Signature style in horror film Imagination and Belief Make Fear Host: Long Tin (Film critic) Long: The movies you made at the B & S Films Production Ltd and Horror Hotline: Big Head Monster (2001) bring together different genres. Cheang: I tried shooting all the different genres while at B & S and realised that horror films have more potential. There are very few pure horror films in Hong Kong, Inner Senses (2001) and The Eye (2002) being the rare exceptions. Most ghost films such as Troublesome Night (1997) have comic elements. I decided to make a pure horror film, hence Big Head Monster. Long: How did you master the technological know-how needed for creating the right atmosphere? Cheang: The horror of Big Head Monster comes from the imagination. Anticipating the ghost is more horrifying than actually seeing it. The focus in New Blood (2002), on the other hand, falls on the lead-up to the phantom’s appearance. In terms of device, I used the surroundings and atmosphere to create horror. For instance, by having the doctors ignore Niki Chow in the hospital, the impression is given that she’s trapped in a no man’s land. At the same time, sound effects are used to build tension. Long: Did New Blood use ideas from The Sixth Sense (1999) as reference? Cheang: I’m eager to avoid coinciding with the plot mechanisms of other films. I watch thrillers of course but I also like war films and romance, deriving from them ideas for horror and fear. I have a penchant for the weird and whacky, and try to find new ways of making thrillers. Long: Ambiguity, hallucination, and psychoanalysis are Hollywood’s ways of explaining the supernatural but ghosts may not actually appear. In local films such as The Victim (1999), elements of a psychological thriller may exist but ghosts still have to make an appearance at the end. Maybe this is a tradition of South China ghost movies. Cheang: A director must believe in ghosts to know how to make a ghost film. In Asian films, ghosts do appear. They come from people, they are stubborn and they have feelings. In Western cinema, by contrast, a character like Jason is a freak, a nutcase with no feelings. That’s why Hollywood’s remake of Japanese horror flick Dark Water (2002) has lost the flair of the original. Long: South China horror films such as Singing at Midnight (1937) and Troublesome Night all carry a moral. But yours never do. In Western horror, evil prevails. Cheang: I don’t want to moralise. There’s no need to romanticise as the good do not always end up well. The world does not necessarily work like that. In New Blood, evil wins. Personal obstinacy if strong enough can crush justice. Long: It has been predicted that soon Hong Kong can only make 10 movies a year. What do you think? Cheang: Even if it’s true, I’ll continue to make films. I hope that Hong Kong audiences will come to see them. I also hope that they will respect Hong Kong cinema. Extracted from a dialogue on 26th June 2005. Compiled by Edith Chiu; translated by Piera Chen

5 Meet the Director Series

Kenneth Bi

Great stories come from real life. The Rich Flavours of Rice Rhapsody Host: Bede Cheng (Programme Assistant, HKFA) Cheng: Why did you choose Singapore as the setting for Rice Rhapsody? Bi: Actually it kind of started with , who went there with Yonfan to shoot Bugis Street (1995). From Chan, I learned that there are many gay men in Singapore. The city is a multilingual, multicultural hub, as a Chinese brought up in Canada, I could relate to that. Cheng: Since your return from Canada, you had tried out many different roles in film production. Bi: In Canada, I majored in drama, but the future in this field didn’t look so bright, so I came back to Hong Kong to have a go in the film industry. I devoted a lot of time to master every technical aspect that would assist my filmmaking. I have helped with computer editing, made music videos with Lam Wah-chuen, and helped Fruit Chan as Assistant Director as well as done English subtitles and sound for his films. Cheng: Rice Rhapsody won the 1999 Best Script Award from the Government Information Office of . How did that come about, and why did it take four whole years before you shot the film? Bi: Thanks to Lam Wah-chuen’s encouragement, I just made the submission deadline. However, many companies had reservations about investing because they thought a light-hearted family drama is not popular with the commercial market. Right from the word go, I wanted to play Jen, who is the life and soul of the film. The first time she read the script, she turned me down. We approached her again with a revised script. She suggested some amendments and finally agreed to play Jen. At that time, Sylvia happened to be consultant for JCE Movies Ltd, and when Willie Chan found out about my film, JCE Movies Ltd became the chief investor. Cheng: Sylvia Chang’s Singlish is brilliant. Her performance comes straight from the heart. Bi: I purposely arranged for her to go to Singapore to pick up Singlish and do rehearsals there. The roles of the three brothers are all played by non-professional locals. Prior to shooting, I requested the entire cast to spend time studying the script and rehearsing together. In this way, they can build up trust. Cheng: The French woman is a kind of fantasy figure, and not flesh-and-blood. Bi: She is a fairy whose wand is invisible, an angelic figure pulling strings backstage. Melanie Laurent is a professional actor. Her scenes with Sylvia are solidly performed. I noticed during rehearsals that the film has taken on a feminine ‘colour’, highlighting the strength of women. Audience: What have you learned from making your first feature? Bi: I learned that sometimes, you cannot spot the problems until the editing stage. Next time, I’m definitely going to take notes during each shoot like Coppola does, to remind me of the essential points in each scene. Extracted from a dialogue on 19th June 2005. Compiled by Jess Wong and Kwok Ching-ling; translated by Maggie Lee

6 Stephen Fung

Having my favourite comedic and action elements... A Taste of Being a Director and an Actor Host: Ye Nianchen (Film critic and scriptwriter) Ye: You were an actor when we first met, I was the scriptwriter of My beloved, the segment you co-directed with Nicolas Tse in Heroes in Love (2001). When did you start to have the desire to be a director? Fung: Since I was an actor. Actually, when I was young, I liked to edit whatever television drama I have recorded. I learned from the directors whom I’ve worked with as an actor. When I filmed Gen-X Cops (1999), Benny Chan has inspired me tremendously. I learned the use of camera and lighting, as well as the techniques in filming a big budget production. Ye: In their first films, many directors would choose topics that interest them the most. Enter the Phoenix (2004) was an action film about the triad, is that a genre you wish to? Fung: I had thought of the storyline for quite some time. Imagine the son of a ganglord to be gay and he has to take over his father’s triad, that would be an interesting scenario! I included my favourite comedic elements in it, along with something else that I wanted to say, as well as the love of a family, which I wanted to express. From the investors’ point of view, making a comedy has more guarantees in making profits. As it was my first directed feature film, I wouldn’t have another chance if it had failed. With the success of Enter the Phoenix, I was able to direct my next film on a bigger budget. With a bigger budget for House of Fury (2005), I was therefore able to invite Yuen Wo-ping to be my martial arts director. Ye: Is action an important element in your films? Fung: I grew up in the 1980s, which is the era of hero and action films. I admire directors such as John Woo and Ringo Lam. To a certain extent, the success of Hong Kong cinema depends on action films. Action films are universal, therefore I wish to include action in my films. Ye: Do you like to direct and act at the same time? Fung: I didn’t want to act in Enter the Phoenix; I wanted to concentrate on the directorial side of work. However, it was a small role, plus some marketing concerns, so I decided to play the role in the end. As for House of Fury, I wanted to act in an action film when I am still young enough to do it. Ye: What have you learned since you moved from being an actor to a director? Fung: The best part is that I now understand more about the directors who invite me to act in their films and the excuses of the producers. The investors were skeptical about an actor-turned-director, however, it’s easier for me to find actors, which is the draw for the investors. Ye: How do you feel about reviews of your films? Fung: I don’t take in everything they say. Film critics are professionals. I’d pay attention to what they say, but I’d insist on my views, otherwise it’d be difficult to be a director. There are many factors that may influence a director, resulting in a film that isn’t what you want. One good thing about being an actor-director is that I don’t have to direct several films a year. I have other sources of income, I don’t need to direct for money’s sake. I can wait until everything is ready, including the budget. Extracted from a dialogue on 9th July 2005. Compiled by Jess Wong and Kwok Ching-ling; translated by Judy Ng

7 Feature

HKFA and Hong Kong’s Film Culture

(From left) Law Kar, Sam Ho, Angela Tong, Cass Wong, Daphne Chan and Winnie Fu

8 Programming staff at the farewell party for Uncle Kar: (Front row from left) Yip Wai-chi, Amy Kong, Winnie Fu; (Middle row from left) Chan Wing-hang, Cass Wong, Law Kar, Bede Cheng, Chan shag-cheong; (Back row from left) Daphne Chan and Stephanie Ng

Bernard Yung

Delia Yu

We would like to have your comments on the Hong Kong Film Archive, please email to [email protected] 9 Feature

HKFA and Hong Kong’s Film Culture Between curtains up and curtains down, between the opening and closing of exhibitions, another topic of discussion makes it entrance. Had it not been the opportunity of the handover of our Programming reins by the retiring Law Kar to Sam Ho, our new Programmer, we might not have reviewed our past so soon.

. From Daily Meals to Core Expansion be offered for public viewing. This makes it unique in Hong Kong. Other strengths – Discussion on Archive Programming include effective administration; well-equipped facilities such as the exhibition What role does the Archive play in Hong Kong’s film culture? How can we hall and the theatre; and the availability of fundamental resources at its disposal. complement other film organisations? What have we learnt in terms of The Archive has also successfully established a core audience base, made up programming since our establishment? What plans do we have for the future? of viewers aged above 40. We sat down with Angela Tong, Head of the Archive, Law Kar, Sam Ho, Core Expansion Winnie Fu, Exhibition Programmer, and Bede Cheng and Cass Wong of the How should the Archive use its strengths to make up for its limitations? Law Programming section. For a change, we convened not to go over programme pointed out that the Archive’s activities can be categorised into two types. The logistics but to saunter over the landscape of film culture. Law Kar’s comments first are the ‘daily meals’, a steady diet of events that are held regularly. Yet for on the Archive’s strengths and limitations hit the nail on the head. These are an organisation to pass on its culture and flourish, it ought to have what he views that only someone who cares could harbour. called ‘core expansion’ activities. This involves bringing together a group of Sam Ho, who had lived in the US for years, has reestablished a bond with interested viewers who, through regular discussions, becoming more and more his birth place since serving as English Editor for the Hong Kong International knowledgeable and devoted. They will, in turn, influence those around them or Film Festival in 1993. Since then, he has been shuttling between Hong Kong teach courses. This way, knowledge and culture can flourish. This also makes and Houston, making many friends along the way. We remember witnessing for success, reminiscent of The Chinese Student Biweekly, College Cine Club Sam discussing 1950s and 60s Hong Kong movies in a seminar, impressed of the 1960s, and the Film Culture Centre of Hong Kong of the 1980s. [Note] The by the remarkable appreciation of this Westernised film critic for the SAR’s Archive can establish interest groups whose members meet to exchange ideas early cinema... or, in the case of collectors, share artefacts from their prized collections with Strengths and Limitations each other. They can come from any background. Those with potential can be Ho observed that Hong Kong film culture is thriving and gaining diversity in given the chance to act as docents or help to coordinate events. In the future, recent years. Government support has become more organised, and so the Resource Centre can take up the organisation of interest groups, exhibitions have the efforts of film lovers and cultural workers. More film-related activities of private collections, or visits to artists’ homes. It will become more than a are held, indicating that art and culture is increasingly being recognised. This library and its functions will have more cultural implications. is also a sign of gradual maturation of our society. From the struggling years Winnie Fu was supportive of the ‘core expansion’ concept but noted the of the post-war era to a prosperous era marked by materialistic indulgence challenges involved in running interest groups. Previous collaborations with to the present awakening towards culture—these are necessary stages of universities had shown that such relationships are not easy to sustain. The development. Recent developments such as debates on the West Kowloon problem was not lack of interest but the perceived remote location of the Archive Cultural District and the implementation of general education prompt even building. This made it difficult to get people to cohere as a unit. She has plans more public dialogue on art and culture. to strengthen links with the film industry in the hope of involving them in Archive Law Kar related the Archive to the diverging fortunes of the Hong Kong Art events through collaborative projects. Centre’s film programme and the Broadway Cinémathèque. While both are Ho believed the Archive should focus on the long term in cultural development. targeted at young viewers better resources partly explain why the We should not be overly concerned with immediate results because the nurturing Cinémathèque enjoys far more success than the Arts Centre. He also of culture takes time and the government should be prepared to sustain it with all attributed the rise in ticket sales for this year’s Hong Kong International Film necessary resources. He was also in favour of the ‘core expansion’ concept. Festival to good promotion and balance between mass and specialised tastes. Tong suggested that newspapers or other publications could help promote film Angela Tong believes that having a café and a bookstore, Broadway culture by devoting columns to the writings of students or film lovers. Ho added Cinémathèque has become a gathering place for film-goers. A commercial that the Archive should exploit possibilities offered by the internet such as setting entity, the Cinémathèque also enjoys greater flexibility in staging events. One up interactive websites and promote the establishment of chatrooms that would of the Archive’s major limitations is the absence of similar amenities at our serve as platforms for global exchange. building. The Archive has always sought to team up with different partners or universities, in order to broaden its audience base. Compiled by Kiki Wong and Edith Chiu; translated by Piera Chen On the Archive’s positioning, Law Kar believes that its mission is to familiarise [Note] Holding regular events was a remote dream in the 1960s when Hong Kong the public with Hong Kong’s history, culture and geography through cinema. film as a cultural activity was just an idea. In hindsight, the ‘core expansion’ tactics of the CCC and FCC must too have been dreams. In 1968, The Chinese Student Its goal is not instructing the public on how to appreciate or critique movies Biweekly’s sister magazine College Life organised a College Cine Club that had but in fulfilling the cultural functions of its various undertakings. He hoped screening, filming, research and publication teams. Some of the editors and writers that the Archive can encourage the young to reflect on Hong Kong and to of the Biweekly joined the club. Later, Clifford Choi took the lead in establishing the enable the promulgation of knowledge. Film Culture Centre of Hong Kong in 1978. It offered production courses and also functioned as a film club. Lecturers included Ann Hui, Yim Ho, Wong Jing and Tsui Law believed that the Archive enjoys certain advantages. One is its Hark. Course students such as Lam Kee-to and Fruit Chan became important workers possession of a huge volume of old films from the 1950s to 1970s that can in the film industry and the centre became a favourite haunt of cinephiles.

10 Catalogues released by the Udine Far East Film Festival and the UCLA Film and Television Archive, highlighting their respective programmes on Hong Kong movies.

. Hong Kong Film Culture and its Overseas Connections . Two Letters from Afar—Loving Hong Regarding Hong Kong film culture, one cannot underestimate the Kong Movies Heart and Soul importance of its overseas circulation. Even a single e-mail or a They may live overseas but they love old Hong tentative inquiry from abroad often becomes the key to unlocking Kong movies no less than we do. Their passion a treasure trove of stories, and opens doors to new screening for Hong Kong flicks—which makes them opportunities. Our horizons are invaluably broadened, both from a reminisce about Hong Kong of the 1950s and personal emotional standpoint, as well as from an international, 60s—is evident in their e-mails which also allow educational perspective. us a glimpse of Hong Kong film culture According to Mable Ho, Acquisition Manager of the HKFA, since its inception in overseas. They have shared their views with us and expressed the hope that the Archive will 2001, the HKFA has seen the increase of films on loan to overseas cultural become an ideal platform for promoting Hong organisations from eight to twelve times a year-a sign that the HKFA is fostering Kong film culture. closer and more regular international ties. Currently, organisations that have approached the HKFA most frequently are the Udine Far East Film Festival, UCLA Bernard Yung Film and Television Archive and not so long ago, the organisers of the ‘China in I was born in 1964. It is fascinating to see what life was like France’ in France. In this respect, we complement our local efforts to bring the HKFA’s at or near the time I was born. I have been watching old collection to a wider audience by providing the Hong Kong Heritage Museum with Hong Kong movies for as long as I can remember. The films films to screen. Our next step in promoting Hong Kong film culture is to create a of the 1950s and 60s give a glimpse of life in Hong Kong at a time when industries seemed to be really taking off and comprehensive and coherent online database of archival works, publications and the standard of living seemed to be improving rapidly. These information on past screening events and exhibitions. If this materialises in the near films are excellent records of Hong Kong culture of that era. future it will no doubt help us in audience outreach as well as open up more The wonderful quality of some of the films and the superb opportunities for collaboration with overseas organisations. acting of some of the actors are crucial factors too. Out of the 5,800 copies in the HKFA’s collection, around 2,000 were hunted down My wife and friends are British, so it has not been easy to from overseas and brought back to Hong Kong. Fine examples include Way Down share my enthusiasm of Hong Kong movies with them! West (1927) from the Stichting Nederlands Filmmuseum and The Soul of China (1948) However, when I browse through the yesasia.com (http:// from the British Film Institute. This goes to show how Hong Kong cinema has been global.yesasia.com) movie page, the users’ comments on held in high regard by overseas film archives way back in time. We hope to strengthen various Hong Kong movies, including old movies, our future ties with these partners and bring back more archival treasures to Hong made me realise that there are many Hong Kong movie lovers Kong. living overseas like myself, who highly appreciate the work Due to differences in culture, systems, human resources and management standards, and contribution of film stars and filmmakers of years past. cultural organisations around the world do not maintain a uniform attitude or policy Delia Yu towards film preservation. It therefore requires much effort to facilitate efficient Hong Kong Cantonese movies played a very important part communication. The Hong Kong way of working is more in tune with the Anglo-American in my life as an American born Chinese living in Los Angeles emphasis on systems and high efficiency, whereas collaboration with other European during the 1950s and 60s. It impacted my life in a very or Southeast Asian countries requires greater understanding and more dialogue to positive way. It was one of the few links I had with Chinese overcome differences. However, through mutual respect, we can learn from each other language, culture, and history. It also serves as a link with and work hand-in-hand to raise the level of consciousness in preservation of film heritage. my parents since it was something common we could share (Translated by Maggie Lee) together.

11 Feature

Exchange and Collaborate Profile of the 61st FIAF Congress

Mable Ho

Thanks to Wong Kar-wai, I never ran out of conversation topics with international film archive people. Archivists are cinephiles, hence the representative films and filmmakers of a certain place invariably attract attention. I am no exception. I found myself eagerly seeking updates on director Hou Hsiao-hsien from the staff of the Taipei Film Archive or enquiring the curator of Cinemateket-Svenska Filminstitutet about how a master like Ingmar Bergman can come about. We also joked that with a public relations officer named Akira, Tokyo’s National Film Center of the National Museum of Modern Art, has an additional edge in promoting its valuable collection, as the name makes cinephiles recall the late Kurosawa by association. What makes a better cultural ambassador than film? As an art that can most effectively capture contemporary life, film is a window into global cultures, illuminating their commonalities and differences. With

(From left) Liu Dong and Director Chen ethnographic films as its theme, this year’s seminar Jingliang of the China Film Archive, Mable explored ways of representing culture. It gave me the Ho, Director Winston Lee and Teresa Huang of the Taipei Film Archive opportunity to feast on rare documentaries from the world over—footage of his own backyard shot in 1905 by Dr Karol Grossmann, a trailblazer in Slovenia, our host country; a film showing the selection of the Most Portuguese Village in 1938; Goémons, a French short which won Best Documentary at the Venice Film Festival in 1948; Czechoslovakia’s Sword Dance; and a work on Africa’s landscape and customs. In just a few days, I experienced true cultural pluralism. Does Hong Kong have ethnographic movies? Only (1st and 3rd left) Okajima Hisashi and Tochigi Akira of National Film Center of a few anti-war images come to mind. Perhaps it is The National Museum of Modern Art, Tokyo; (middle) Mable Ho only when faced with our nation’s possible demise that we would start reflecting seriously on our national identity, history and culture. Then again, according to Peter Kubelka’s unconventional interpretation that regards all films of a certain place as its ethnography, Hong Kong people do have a louder voice than many others. China is a multi-ethnic country. There are numerous films about ethnic minorities, though regrettably, none made it to this international congress. However, Taiwan’s own interpretations of the topic can be found in the Taiwan International Ethnographic Film Festival which has been held since 2001.

12 Film Conservation Jargons 8

FrameEdward Tse Rate The annual FIAF Congress is an excellent opportunity for networking and exchange among film archivists. With rapid development in film technology, archivists have to stay abreast of the times while rescuing old material from the tides of history. This involves extensive training of personnel as well as the preservation and maintenance of a large and complex amount of information, technologies, artefacts and equipment. FIAF’s specialised commissions to provide up-do-date information and professional advice, individual FIAF members would have a hard time keeping up with global trends. This year, the Technical Committee calls upon all members to formulate a reaction plan to cope with the analogue-to-digital challenge. In an increasingly globalised world, each nation’s cultural heritage is an essential part of world film culture. We should step up our exchange and collaboration for a better future. (Translated by Piera Chen) Mable Ho is the Acquisition Manager of HKFA

(From left) Gregory Lukow, Chief, Motion Picture, Broadcasting and Recorded Sound Division, Library of Congress; David Francis, FIAF Hon. Member; Ray Edmondson from Archive Associates Pty Ltd

13 Film Conservation Jargons 8

Frame rate, in the context of motion pictures, refers to the number of film frames projected in a second. It is the fundamental technical information underlying each film projection. It is not easy to realise that this seemingly small piece of information is the magic behind the success of each motion picture —the intermittent mechanism of the projector and its equivalence in the movie camera. Since the refresh rate of normal human vision system is about 48 Hz, anything that changes itself faster than this may fool our eyes and give us an illusion of movement. Owing to technological limitations, many early motion picture films were taken with 16 frames per second (fps), and with a 3-blade shutter in projection, resulting in an overall rate of 48 Hz (16 fps x 3 = 48 Hz). The SMPTE1standard specification for 35mm format motion picture is 16 frames per foot, hence the footage count in feet would be the running time in seconds. The main drawback of using the minimum frame rate was the annoying flickering effect which was worse in brightly lit scenes, such as that of the sky in bright daylight. Eventually the frame rate used by production people was increased from 16 to 24. With a frame rate as high as 24 fps, a 2- blade shutter was enough for attaining the same refresh rate (24 fps x 2 = 48 Hz) while keeping the image brighter, allowing a less powerful illumination lamp to be used in the projector. For the recently restored The Wild Wild Rose (1960) the soundtrack was The introduction of talkies (sound film) in 1929 marked printed from videotape and the frame rate was adjusted from 25 fps to the end of the silent era. The required use of the sound 24 fps for synchronisation with the image. track reader restricted the frame rate to exactly 24 fps. projections so as to preserve the original reduction printing which could result in Any frame rate other than this would have significant effects cinematic experience for viewers. Therefore, permanent loss to the film’s information on the pitch and quality of the sound. From then on, the unlike commercial cinema, film archives are content. A recent restoration project of frame rate for motion pictures became virtually fixed and equipped with adjustable frame rate projectors the Hong Kong Film Archive in 2004 standardised. Later the invention of television and the to cope with the possible variety of frame rates was to correct the sound track emergence of broadcast stations worldwide boosted the of early motion picture films. The most synchronisation problem of The Wild Wild Rose (1960) which had been need to transfer motion picture contents from film to video appropriate frame rate for each film is transferred with the wrong frame rate. format in order that they could be viewed on television at determined during test-screening although, home. The frame rate for video (25 Hz for PAL, 30 Hz for very often, the technical details may have been NTSC) is different from that for motion picture film and published in literature. A reference frame rate 1. SMPTE is the acronym of the Society of Motion Picture and Television Engineers. It there are a number of techniques to make up for the for 35mm film can be calculated from the is an international professional body setting difference, including 3:2 pull-down in the transfer process. published running time and the measured standards regarding the engineering aspects of motion picture and television. Sometimes, films are merely transferred with 25 fps in PAL footage count of the film using the following 2. The FIAF Code of Ethics stipulates in signals for convenience. This, however, gives rise to formula: Clause 1.6: (see http://www.fiafnet.org/uk/ problems such as shortened total running time, speeding members/ethics.cfm). When providing access up of actors’ movements and change in sound quality. to material by programming, projection or other means, archives will seek to achieve the The most noticeable is the heightened pitch in male closest possible approximation to the original dialogue. viewing experience, paying particular attention (for example) to the appropriate speed and It is the ethical requirement2 for film archivists to strive Fortunately most problems associated with the correct aspect ratio. for the best available technology in ascertaining and wrong frame rate settings can be tackled and all Edward Tse is Assistant Curator I applying the original technical parameters in all film undesirable effects are reversible, unlike in (Conservation) of HKFA.

14 Events Programme 9–10.2005

Captivating Charmers of the Cantonese Cinema

Audience response since the opening of this exhibition in July has been enthusiastic. If our exhibition leaves you thirsting for more from these men, here are some of their lesser-seen works to quench your craving. They include Far Away (dir: Chu Kea, 1954), A Tale of Laughter and Tears (dir: Lee Sun- fung, 1957), The Student Prince (dir: Mok Hong-see, 1964), and Purple Night (dir: Chor Yuen, 1968).

St. James’ Settlement invited veteran actors Ding Yue (left) and Chow Chung (right) to chat with a group of seniors and watch a Hong Kong and Japan: screening of The Orphan (1960) at the HKFA Early Co-productions on 15th June and 13th July.

A special feature on the ‘Hong Kong-Japan trilogy’, directed by Chiba Yasuki and starring Takarada Akira and Lucilla You Min: A Night in Hong Kong (1961), Star of Hong Kong (1963), and Hong Kong, Tokyo, Honolulu (1963). Also The seminar on ‘Story and presenting The Lone Swan (dir: Lee Sun-fung, 1955) and Madame Butterfly Script Writing’ was organised by (dir: Yi Wen, 1956), etc. the Education and Manpower Bureau at the HKFA on 5th July to cultivate interest in creative writing in students. Scriptwriter Ivy Ho was invited to share her experience with teachers and students from secondary schools.

The Hong Kong Film Archive is honoured by the presence of Takarada Akira to share his experience working on Hong Kong-Japan co- productions of the 1960s, especially the ‘Hong Kong-Japan trilogy’ which co-stars Lucilla You Min. Guests: Takarada Akira, Law Kar Host: Mary Wong (Centre for Humanities Research, Lingnan University) The screening of The Eight Venue: Cinema, Hong Kong Film Archive Hundred Heroes (1938) on Date & Time: 8 October (Sat) 4:30pm 2nd and 22nd July was full Conducted in Cantonese/Japanese of passion and pathos thanks to the live Chinese music accompaniments of celebrated patriotic songs. Please refer to the HKFA’s programme leaflet, ProFolio and our website for details. Admission to seminars is free. For enquiries, please call 2739 2139 (Programme) or 2734 9009 (Ticketing). 15 New Acquisitions

Donor Showcase EMP JCE Movies

To thank Emperor Motion Pictures—JCE Movies for their generous donation of several hundred items of film copies, props, posters, stills and costumes from movies Forever and Ever (2000), Just One Look (2002), The Twins Effect (2003), Enter the Phoenix (2004), and House of Fury (2005), the HKFA held a donation ceremony on 16th June. On that day, Gerard Tsang, Assistant Director (Heritage and Museums) of the LCSD delivered a speech and presented souvenirs to EMP representative Albert Lee and JCE Movies representative Solon So in the packed lobby of the archive. The master of ceremony Lam Chiu-wing made witty exchanges with actors Isabella Leong and Kenny Kwan, and director Kenneth Bi.

(From left) Solon So, JCE Movies representative; Gerard Tsang, Assistant Director (Heritage and Museums) of the LCSD; Isabella Leong; Kenny Kwan; Kenneth Bi; Albert Lee, EMP representative; Angela Tong, Head of HKFA; Law Kar, Programmer of HKFA

Donors 5-7.2005

16 © 2005 HKFA Not for Sale